text:
Volume 5, no. 1:Antonio Bononcini, Complete Sonatas for Violoncello and Basso Continuo. Edited by Lowell Lindgren. Recent Researches in the Music of the Baroque Era, 77. Madison: A-R Editions, Inc., 1996. [xxvi, 157 pp. ISBN 0-89579-333-4. $57.60.]Reviewed by Gregory Barnett*1. The Early Violoncello2. Assessing Bononcini's Sonatas3. Dating the Sonatas4. Evaluation of the EditionReferencesAll the music examples for this review can be downloaded as a single file in PDF format by clicking here . 1. The Early Violoncello1.1 We have precious little music for the violoncello soloist that was written before 1700. Lowell Lindgren's clear and informative edition of Bolognese composer Antonio Bononcini's twelve sonatas for violoncello with continuo accompaniment therefore constitutes a substantial contribution both to the study of Italian Baroque music and to our repertory of early cello pieces. Lindgren's inclusion of three individual sonatas from the early eighteenth century-composed probably by Antonio or possibly by his older brother Giovanni Bononcini-completes this edition and augments an already considerable volume of music.1.2 In the early history of the cello, cellists, and their repertory, late seventeenth-century Bologna stands apart as the mother lode: during the last quarter of the seventeenth century, in the context of a flourishing musical culture in this northern Italian city, cellist-composers such as Domenico Gabrielli, Giuseppe Jacchini, and Domenico Galli produced some of the earliest compositions written specifically for the solo violoncello. The term "violoncello" had just come into use during the 1660s in Bolognese printed music, wherein it specified a smaller version of the bass violin vis-à-vis the violone.(note 1) Soon "violoncello" became the preferred and enduring term for the bass member of the violin family. The instrument itself benefited from the late seventeenth-century invention of wire-wound strings-probably a Bolognese contribution to string making-which rendered an improved tone on smaller and more easily playable bass violins covering the same low register as larger versions did.(note 2) 1.3 Given this background for the violoncello
of the late seventeenth century, we might not wonder at the appearance
of a set of twelve highly virtuosic cello sonatas by Antonio Bononcini,
thought to have been composed in Bologna around 1693. And yet we should
take special note of these remarkable pieces because they resemble nothing
from the 1690s: despite the blossoming cello literature written by the
Bolognese virtuosos mentioned above, not one from among their published
works approaches the length and virtuosic level of these pieces by Bononcini.
If, as Lindgren believes, these sonatas were composed in the 1690s-while
the composer was in his teens, no less-they will fundamentally alter our
understanding of the cello and its repertory in the late seventeenth century.
2. Assessing Bononcini's Sonatas2.1 Some data from contemporary pieces for the violoncello illustrate the uniqueness of Bononcini's contribution: First, only one publication of the period is devoted solely to cello pieces, G. B. Degli Antonii's Ricercate, Op. 1 (1687) for unaccompanied violoncello.(note 3) Otherwise, cello pieces appeared in print one or two at a time as additions to collections of violin sonatas, violin and cello duets, or trio sonatas.(note 4) Second, compositions of the 1690s for the cello average around 100 measures in length whereas the average for Bononcini's sonatas easily exceeds 200 (the shortest is 190 mm.; the longest, 307). Third, multiple stopping on the violoncello in most of the previously known literature occurs only infrequently and for brief passages. In Bononcini's sonatas entire pages of music (up to a dozen measures) comprise passages wholly in double stops.2.2 Specific examples from both the late seventeenth and early eighteenth centuries further demonstrate the extraordinary nature of Bononcini's cello sonatas. Antonio Bononcini's older brother Giovanni was himself a cellist, but he wrote nothing for the cello that compares to the sonatas of Antonio. A few of the slow movements from Giovanni Bononcini's Sinfonie, Op. 3 (1685)-written when Giovanni was himself fifteen-feature obbligato parts for the violoncello. In one case, the final movement (Vivace e spiccato) from the Sinfonia Terza (example 1), the cello plays a continuous running line, reaching b' at one point (m. 15). One of Giuseppe Jacchini's sonatas for violoncello, his Op. 3, Nº10 (1697), furnishes a representative example of a full-fledged cello sonata of the 1690s (example 2, which shows the opening Grave and Presto e Spiritoso). The technical challenge here lies mostly in the passages of broken intervals played over two strings (mm. 11-12) and the rapid and extended sequential progressions (mm. 20-29). Giovanni Bononcini's and Giuseppe Jacchini's examples thus render some idea of cello music of the late Seicento; and yet neither of these examples contains writing for the cello even close to that of Antonio Bononcini. 2.3 Turning to cello pieces of the early
eighteenth century for further comparison, we begin to find similarities,
although Bononcini's pieces continue to stand apart in certain respects.
On the one hand, the formal characteristics of Bononcini's sonatas resemble
more the cello sonatas of Benedetto Marcello and Antonio Vivaldi than
anything from Bologna of the 1680s and 90s: (note
5) common to Bononcini's and the Venetians' sonatas are a strict reliance
on a four-movement plan and the use of binary forms in pieces without
dance titles. On the other hand, Bononcini's sonatas are still longer
and more difficult than those of Vivaldi and Marcello. The Venetian composers,
moreover, did not use da capo form in their cello sonatas as Bononcini
seemed fond of doing. 3. Dating the Sonatas3.1 In terms of sheer length and virtuosity, the concertos of Nicola Porpora (1686-1768) come closest to Bononcini's sonatas;(note 6) therefore, Bononcini's sonatas of the 1690s show off writing for the cello that parallels the virtuosic levels seen in concertos written decades later. In fact, a later date for Bononcini's sonatas is arguable because of his strict reliance on a four-movement plan (slow-fast-slow-fast) in all twelve sonatas; this strictness of procedure is anomalous for instrumental music of the late seventeenth century. Arcangelo Corelli, for example, whose sonatas are sometimes taken as the models for the period, used this pattern in little more than half of his sonatas. Judging from the published literature, the four-movement sonata was an eighteenth-century codification that arose from the variety of approaches used during the late seventeenth century.3.2 Lindgren's case for dating Bononcini's sonatas to the 1690s, however, outweighs other possibilities. His argument rests on another composition by Bononcini, a Laudate pueri from 1693 for voice, continuo, and obbligato cello, in which we find the same virtuosic writing for the violoncello as is found in the undated twelve sonatas. Like the sonatas, the psalm setting survives in manuscript, and Lindgren notes that Bononcini's cello writing probably represents the closest analog that we have to 1690s improvisatory practice on the violoncello, precisely the sort of thing that was not usually written down, much less published. 3.3 The very fact that Bononcini's sonatas survive in manuscript furnishes further evidence in support of Lindgren's proposed date. During the last decades of the seventeenth century, composers of both violin and cello music appear to have worked on two distinct levels. On the first, that of the published repertory, composers produced contrapuntally sound and musically satisfying works that were not especially challenging to the instrumentalist. On the second, these same musicians produced virtuoso showpieces, which were never published-probably because because these more difficult works were intended for performance only by the composer. The clearest demonstration of this phenomenon lies in the oeuvre of the Modenese composer Giuseppe Colombi (1635-93). Colombi's five published collections of sonatas contain no double stops and rarely require the violinist to play above first position. His violin solos in manuscript, by contrast, exceed first position by up to an octave and contain pseudo-fugal expositions, which are effected by intricate double stopping. 3.4 The same dichotomy between printed and manuscript repertories exists on the violoncello. Domenico Gabrielli (1650-90), a Bolognese cellist, never published any cello solos, and his only published music, a collection of trio sonatas, uses an undistinguished bass line throughout. His two manuscript sonatas for violoncello and continuo, however, tell a different story: example 3 shows the beginning of the third movement from one sonata, and example 4 shows the end of the first movement and beginning of the second from the other.(note 7) Both passages contain a good measure of multiple stops, and the Allegro of Ex. 4 further elaborates its extended passage in sixteenth notes with bursts of thirty-second notes (mm. 3-5), precisely the kind of intricate diminutions that might characterize improvised solos. Although Bononcini's cello sonatas demonstrate a technical level beyond Gabrielli's, the two collections of sonatas are more akin to one another than to anything in print during that time. 3.5 As extraordinary as they appear, Bononcini's
twelve cello sonatas most likely date from the 1690s as Lindgren hypothesizes.
Given this probability, the importance of these works cannot be underestimated:
they illustrate both how little we still know of late Seicento
instrumental music and how much of what we may still learn lies in music
that was never published. 4. Evaluation of the Edition4.1 Lindgren's preface is well planned and highly informative; he methodically divides the text into sections on the composer, the music, the sources, notes on performance, editorial methods, critical notes, and acknowledgments. His approach to the preface reflects a sound strategy in making an edition of music: he provides as much information as possible while not belaboring the questions raised by his research. One issue that he mentions, for example, is the question of precisely what instrument Bononcini had in mind in writing his twelve sonatas. Lindgren acknowledges two possibilities in addition to the violoncello: one is a five-stringed variant of the cello, tuned C, G, d, a, e'; the other is the tenor violin, an instrument with dimensions somewhere between those of the viola and violoncello and tuned an octave below the violin (G, d, a, e'). Both of these possibilities, however remote, are worth exploring, and Lindgren has gone the extra mile to bring the pros and cons of each to the reader's attention.4.2 One conclusion that Lindgren draws about these sonatas is that they are church sonatas. Although he may well be correct, I have reservations for two reasons: first, assigning a genre to these pieces is unwarranted since Bononcini himself used only the term sonata (without adding da chiesa)-in fact, only a handful of prints from this period did use the title sonata da chiesa; and second, modern readers might draw misleading conclusions on the basis of calling these pieces church sonatas. Specifically, the some might infer that these were originally intended for performance in a church with continuo accompaniment on the organ. While this may have been the case, the grounds for these conclusions are not firm. Lindgren has made the designation of church sonata on the basis of there being no dance titles in any of the twelve sonatas. To counter such a designation, however, I would cite examples of sonatas da camera whose movements bear no dance titles (note 8) and sonatas that bear both modifiers, those that were deemed acceptable for both church and chamber.(note 9) Generally speaking, modifiers such as da chiesa, da camera, and for that matter, da teatro, indicate a suitability of the music for these specific contexts-they do not refer to immutable genres. To take them as such risks an overly schematized view of this music and its uses. 4.3 In the musical text, Lindgren has added many figures to the continuo line, and these are duly bracketed. Although he does not explain his system for adding figures, the relationship between the two lines of music, continuo and violoncello, served as his guide for adding figures in most cases. Given the perpetual motion writing for the cello, unfortunate page turns are the unavoidable rule. A-R Editions might have chosen a different musical font for these pieces because the notes, however well spaced horizontally, appear flattened within squat little staves; taller staves and larger note heads would have been easier to read. 4.4 These last points, however, constitute a reviewer's nit-picking. I learned a considerable amount from reading Lindgren's preface and from studying this music. His edition of Bononcini's sonatas constitutes a large step forward in our understanding and appreciation of early violoncello music; specialists of Baroque music, cello historians, and performers alike owe Lindgren a debt of gratitude for his work here. References*Gregory Barnett (email@example.com) is a member of the musicology faculty at the University of Iowa. He completed a Ph.D. in musicology at Princeton University in 1997 and is currently completing a book on Italian instrumental music of the late seventeenth century to be published by the University of California Press.Return to beginning Notes1. For a thorough study of this issue, see Stephen Bonta, "Terminology for the Bass Violin in Seventeenth-Century Italy," Journal of the American Musical Instrument Society 4 (1978), 5-43.Return to text 2. See Stephen Bonta, "From Violone to Violoncello:
A Question of Strings?" Journal of the American Musical Instrument
Society 3 (1977), 64-99. 3. Claudio Sartori, Bibliografia della musica strumentale
italiana stampata in Italia fino al 1700, 2 volumes. (Firenze: Olschki,
1952-68), 1687a, contains a complete bibliographic listing for Degli Antonii's
ricercars, which are available in modern edition: Gianbattista degli Antonii,
Dodici ricercate per violoncello solo, edited by Lauro Malusi.
(Padova: Zanibon, 1976). Curiously, these same pieces survived in manuscript
form (I-MOe, MS.MUS.D.9) as duets with an added violin line. 4. Printed collections from around 1700 that include
one or two cello sonatas are Giuseppe Jacchini, Sonate à Violino
è Violoncello, et à Violoncello solo per camera, Op.
1 (?Bologna: Carlo Buffagnotti, before 1695), Sartori, Bibliografia,
anteriore al 1695; ibid., Sonate per camera, . . . e nel fine due Sonate à Violoncello solo col Basso, Op. 3 (Modena: Rosati, 1697),
Sartori, 1697c; Luigi Taglietti, Suonate da camera à trè
. . . con alcune aggiunte à Violoncello solo, Op. 1 (Bologna:
Silvani, 1697), Sartori, 1697e; Giacomo Cattaneo, Trattenimenti armonici
da camera ... & una Sonata per Violoncello, Op. 1 (Modena: Rosati,
1700), Sartori, 1700g; and Pirro Albergati-Capacelli, Concerti varii
da camera...., Op. 8 (Modena: Rosati, 1702). 5. See Benedetto Marcello, 6 Sonate per violoncello
e basso continuo, István Máriássy and Árpád
Pejtsik, eds. (Budapest: Editio Musica, 1991); and Antonio Vivaldi, 9
Sonate per violoncello e basso continuo, István Máriássy
and Árpád Pejtsik, eds. (Budapest: Editio Musica, 1995). 6. See Nicolò Antonio Porpora, Konzert für
Violoncello, a moll, György Orbán, ed. (Budapest: Editio
Musica, 1984); and Concerto in Sol maggiore, Francesco Degrada,
ed. (Milano: Ricordi, 1970). 7. Both sonatas are found in a single manuscript source,
MS.MUS.F.416, located in the Biblioteca Estense in Modena (I-MOe).
8. Two such examples are Pirro Albergati, Pletro
Armonico Composto di dieci Sonate da Camera à due Violini, e Basso
con Violoncello Obligato, Op. 5 (Bologna: Monti, 1687), Sartori, 1687b;
and Antonio Veracini, Sonate da Camera a due, Violino, e Violone, ò Arcileuto, col Basso per il Cembalo, Op. 3 (Modena: Rosati, 1696),
Sartori, 1696d. 9. Massimiliano Neri, Sonate e Canzoni a quatro
da sonarsi con diversi Strumenti in Chiesa & in Camera..., Op.
1 (Venezia: Gardano, 1644), Sartori, 1644b; Marco Uccellini, Sonate,
Correnti, et Arie da farsi con diversi Stromenti sì da camera che
da chiesa..., Op. 4 (Venezia: Gardano, 1645), Sartori, 1645f; Giovanni
Legrenzi, Sonate dà chiesa, dà camera, Correnti, Balletto,
Alemane, e Sarabande à tre..., Op. 4 (Venetia: Magni, 1656),
Sartori, 1656d; D. Giovanni Antonio Pandolfi-Mealli, Sonate à Violino solo, per Chiesa e Camera..., Op. 3 (Innsbruck: Wagner, 1660),
Sartori, 1660b. Copyright StatementCopyright © 1999 by the Society for Seventeenth-Century Music. All rights reserved. [1] Copyrights for individual items published in The Journal of Seventeenth-Century Music (JSCM) are held by their authors. Items appearing in JSCM may be saved and stored in electronic or paper form, and may be shared among individuals for purposes of scholarly research or discussion, but may not be republished in any form, electronic or print, without prior, written permission from the author(s), and advance notification of the editors of JSCM. [2] Any redistributed form of items published in JSCM must include the following information in a form appropriate to the medium in which the items are to appear: [3] Libraries may archive issues of JSCM in electronic or paper form for public access so long as each issue is stored in its entirety, and no access fee is charged. Exceptions to these requirements must be approved in writing by the editors of JSCM, who will act in accordance with the decisions of the Society for Seventeenth-Century Music. [4] Citations to articles from JSCM should include the URL as found at the beginning of the article and the paragraph number; for example: Jonathan Glixon, "Far il buon concerto: Music at the Venetian Scuole Piccole in the Seventeenth Century," Journal of Seventeenth-Century Music 1 (1995) <http://www.sscm-jscm.org/v1/no1/glixon.html>, par. 2.3. This document and all portions thereof are protected by U.S. and international copyright laws. Material contained herein may be copied and/or distributed for research purposes only. |


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Dunsi Dai |
B.A., Central Academy of Drama (China), 1982; M.A., Stanford University, 1989; M.F.A..University of Illinois, 1992; At Webster since 1996.
Dunsi was born and grew up in China. He received his BA in Stage Design from the Central
Academy of Drama, which is the best theatre training program in that country. He designed
professionally national wide there, and taught scene design at the Central Academy
of Drama for four years before he came to the States in 1986 for further education.
In the States, Dunsi received a MA in Theatre History/Stage Design from Stanford University
in 1989, and a MFA in Scene Design from University of Illinois at Urbana-Champaign
in 1992
As a professional scene designer (USA Local 829), Dunsi has designed both Off-Broadway
as well as at regional theatres across the country. The scope of his design works
include: straight drama, musical, opera, experimental production, children theatre,
event/corporative theatre. His favorite designs including RITA'S RESOURCE (Pan Asian
Rap, NYC), ONCE UPON THE MATRASS (Brook Hollow Players, NY), CARMAN (Trenton State
Theatre, NJ), DESERT SONG (Hampton Playhouse, NH), WEST SIDE STORY (Struthers Library
Theatre, PA), MARA/SADE (Stanford Rep, CA), BIG RIVER (The Human Race Theatre, OH),
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Louis), WATER NIGER and WAITING FOR GODOT (St. Louis Black Rep.), FIDDLER ON THE ROOF
(Stages of St. Louis), OFF THE MAP (TNT), HEARTS and KINDER TRANSPORT (The New Jewish
Theatre), TWO HEADED (Black Cat Theatre), REMNENT and AN ALMOST HOLLY PICTURE (Mustard
Seed Theatre), MAME and 1776 (Arrow Rock Lyceum Theatre). His scene design of REMNENT
(Mustard Seed Theatre, 2007) received Kevin Kline Award of Outstanding Scene Design
(2008). His scene design of TWO HEADED (Black Cat Theatre, 2008) was nominated for
Kevin Kline Award of Outstanding Scene Design (2009). As a teacher, Dunsi taught scene
design at State University of New York at Stony Brook (1992 -1996) and the Central
Academy of Drama in China (1982-1986). He is a professor of scene design in Webster
University, teaching scene design in the Conservatory of Theatre Arts.
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PLUM SHORTCAKE Yield: serves 6 Sauce:
Simmer the water, sugar, casses and zest in a
pan over medium heat for 5 minutes. Add plums and cook til
tender, about 4 minutes. Remove from heat, discard zest and add
butter. Stir til butter melts. SHORTCAKE
Mix together dry ingredients. Cut in butter; either incorporate with pastry cutter, forks or your fingers til mixture resembles coarse meal. Stir in milk. Push into pie plate or 8-inch cake pan. Bake 15 minutes in preheated 400 degree F oven.
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Sono Italiano-americano. I am a member of St Joseph the Worker Roman Catholic Church. I am an advisor to Alpha Phi Omega & College Republicans at Loras College. I am a member of the Dubuque Co. Republican Central Committee. I have been involved in the Catholic Charismatic Renewal Movement since 1974. For me the overriding issue of the day is defending the preborn & upholding their right to life. If we don't value life before birth, we devalue it after birth. Life is a gift from God. This is why I am a supporter of the work that Dubuque County Right to Life does in my area. & that is why I am politically active. Our nation's laws need to be changed to protect all from conception to natural death.
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Old Calendar: Quinquagesima Sunday
A leper came to him (and kneeling down) begged him and said, "If you wish, you can make me clean." Moved with pity, he stretched out his hand, touched him, and said to him, "I do will it. Be made clean." The leprosy left him immediately, and he was made clean (Mark 1:40-42).
Click here for commentary on the readings in the Extraordinary Form of the Roman Rite.Sunday Readings
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Sexagesima Sunday
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What is the major area to consider while design a reboiler? How different is it from normal heat exchanger designs? Are there Web sites I can reference?
Have an insight or suggestion?
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Re: Reboiler design differences
24 October 2007 at 1:29pmThere are several types of reboilers that can be used thermosyphon (vertical, horizontal, tubeside, shellside) kettle, forced-suppressed, and pump assisted are a few. Each of these styles determines which mode of heat transfer is important for the process fluid side, while the heating medium will determine the utility side. There are many Web sites available for gleaning discussions around reboilers, but I recommend you utilize a good process heat transfer text to begin a design. Consider the Chemical Engineers Handbook, Process Heat Transfer by Hewitt, Shires & Bott, Heat Exchanger Design Handbook.
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There are an estimated 350,000 active wells in Oregon.
Whether or not you use a well as a potable water source, below are some frequently asked questions about private wells. Make sure to visit the other pages to get more information.
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A well is a hole that is drilled, bored, or dug into the ground to reach water. There are different types of wells, which include
, or jetted. All four types can provide drinking water or can be used for non-potable uses such as irrigating and washing. A well is considered private or domestic if it serves no more than three households. If your water is coming from a private source, such as a well or spring, YOU are responsible for making sure that your drinking water is safe. This responsibility means that you are not only the consumer but also the regulator, inspector, maintenance manager, and accountant. Make sure to stay current on your well and use all available resources on this website.
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All private wells use
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Another type of aquifer that can exist below an unconfined aquifer is a confined aquifer. A confined aquifer lies between two layers of less permeable rocks and is filled with water.
is a zone of porous and permeable material that is saturated with water and constrained above and below by less permeable materia
l (material that does not allow very much water through).
Wells are constructed to reach these aquifers, which vary in depth, and provide you with water. Some wells have a pump to bring water to the surface, while others may be constructed into an aquifer that has enough naturally occurring pressure from the ground to flow water to the well.
Is the groundwater safe to drink?
This answer varies depending on your location and the construction and depth of your well. While public drinking water systems are protected by the Environmental Protection Agency (EPA), regulations do not apply to
privately owned wells
in Oregon unless you plan to sell your property. Because of this, it is important to know that YOU are responsible for knowing the quality of your water. If polluted ground water is consumed from a well, it could cause you and those in your household to be sick. It is recommended that you test your water every year and keep up with a maintenance schedule.
More information on
testing your water
and the
health effects
of contaminated water is available.
Who do I contact if I have further questions?
For program related questions and concerns or if you are not sure who to call, contact one of the
Oregon Domestic Well Safety Program Staff
. You can also check our
section for more answers.


text:
Cable Gets a Fancy New Arm
All/any spoilers have been blocked.
Hopeless seems to like to begin his stories at the action point then jump back and expand on what led to it. Though it did work in a way, it irritated me that it was such a cliffhanger followed by a slightly less exciting back story. Admittedly, for this story, it makes sense. The premise of the comic is Cable and his X-Force team being on the run and we had to be shown how that happened as well as what led to it.
The back story section was good albeit a little slow. It was good to see a certain character (Hope) make an appearance as we find out a bit more about what has happened to them after recent events. Their interaction with the team was pretty interesting and I'm curious to know how they will fit into the team later on in the volume.
Overall, the plot was good and enjoyable but nothing spectacular, I'm hoping it will build up to something truly awesome later on.
Overall, the art was very good. There wasn't much detail put into the background most of the time - opting instead for plain backgrounds with just a few colours. However, lots of detail was put into the foreground and it looks really good. Larroca drew Domino, Dr. Nemesis and Hope particularly well. However, like so many other artists, some facial expressions really didn't work. There was also a dead guy (don't worry, no one important) whose face looked pretty weird. D'Armata's colouring was good, a bit blotchy in places but it fitted Larocca's stuff well.
The Inexperienced Reader Test
One of Marvel NOW!'s main goals was to provide easy jumping on points for new readers. Because of this, I gave this comic to someone with no experience with comics (my Dad in this case) and asked them to tell me how much they would rate the comic out of 10 for how well they understood what was happening.
Unlike a lot of Marvel's comics, Cable and X-Force didn't have a background summary for the characters at the start. This led to some confusion for my Dad who didn't know the backgrounds of the characters. He said that he could easily tell what was happening in the comic but not why it was happening. Therefore, if you don't know who these characters are or if you have a very limited knowledge of them, it might be an idea to avoid this comic.
An enjoyable comic and definitely a must buy for fans of the characters but not for new readers. I give it a 4/5.


text:
The Old Man:
exclusive photos
Pearls before Primates:
Speech is conveniently located midway between thought and action, where it often substitutes for both.
John Andrew Holmes
Serving the Community since 1903
Pollyanna of Littleton, New Hampshire
Contact Pollyanna of Littleton | About Eleanor Hodgman Porter | Pollyanna Signature Awards
Glad to be in Littleton!
A Welcome Wave. Arms flung wide.
Pollyanna of Littleton -
New Hampshire's most welcoming attraction
is the centerpiece of historic downtown as an ambassador of cheer and community spirit for residents and visitors alike. Today, visitors and passers-by make it a point to return her "welcome wave". Admirers come not only to take a keepsake photo, but to rub Pollyanna's bronze hightop shoe for luck and gladness. Pollyanna can be the start to over 25 points of interest and other delights along Main Street.
Littleton's jubilant bronze sculpture tributes hometown author, Eleanor H. Porter (1868 – 1920) best remembered as the creator of the world's most optimistic character, Pollyanna, 1913.
Eleanor Hodgman Porter's early residence was in Littleton, and not so far from the Library front lawn…where fittingly Pollyanna, Littleton's sculpture presides in an artistic and symbolic place "welcoming residents and visitors." Read more about Eleanor Hodgman Porter....
Things To do for Pollyanna Fans
Saturday, June 13, 2015
Stroll through the Pollyanna Gateway, visit the sculpture and take a keepsake photo!
BE Glad. BE Cheerful. CELEBRATE!
Free event for all ages, rain or shine, downtown Littleton.
View the Pollyanna Glad Day Flyer Here....
Pollyanna of Littleton
New Hampshire's Most Welcoming Attraction
Visit the jubilant bronze sculpture in her welcoming pose on the lawn of the library.
Littleton Public Library, Main Street, Historic Downtown Littleton.
Tel: 603-444-5741
Littleton Historical Musuem
Hometown History - memoriabilia and genealogy of Littleton-born author, Eleanor Hodgman Porter. Open by appointment. Tel: 603-444-6435, Littleton Historical Society
Official Pollyanna Glad Days, held annually in June
Glad Day Wave
Each year one local citizen is awarded the "Pollyanna Signature Award".
Pollyanna Signature Award Honorees from left to right: Brien Ward, 2010; Jim McIntosh, 2007; Dick Hamilton, 2009; Emile Birch, 2008; Donna Jordan, 2004; Deb Warner, 2011; Dave Ernsberger, 2012 (other recipients include: Jason Hoch, 2006; Jack and Ruth Colby, 2005; Fran Heald, 2003)
View more about the honorees here....
Pollyanna in the News
Pollyanna of Littleton Glad Day is featured in
"Amazing Festivals in 100 Hometown Celebrations"
Pollyanna of Littleton was featured on the Cover of NH To Do Magazine in April, 2013
Pollyanna in the Community
Pollyanna Gateway opening ceremony August 2014
Dave Ernsberger addresses the crowd at The Pollyanna Gateway opening ceremony
A group of students from France visiting Littleton, NH.
Glad Day 2011
Littleton Parade 2011
Summerfest Parade 2009
Summerfest Parade 2009
Summerfest Parade 2006
2005 Littleton Parade
Historic Society Presentation at the Historic Littleton Community House June 14, 2006
Pollyanna of Littleton New Hampshire, Inc.
The official nonprofit organization of the bronze Pollyanna sculpture promotes, preserves, and enhances the literary legacy of Eleanor H. Porter and oversees the use and care of Pollyanna of Littleton as a public attraction, cultural asset, resource and positive inspiration for the community and others.
Pollyanna of Littleton, New Hampshire was initiated through Littleton Main Street, Inc. and a grant from the New Hampshire State Council on the Arts. Partnering grew to include the commission and generosity of The Eames Family, who engaged the fulfillment of the sculputure by New Hampshire artist, Emile Birch (pictured right with his wife, Cynthia); with the significant interest of the Littleton Public Library, Littleton Main Street, Inc., the Town of Littleton, Littleton Area Chamber of Commerce, Littleton Area Historical Society and many supportive community friends and officials. Pollyanna of Littleton New Hampshire, Inc. was established in 2002 by The Eames Family as a non-profit organization. Hats off to all our many Pollyanna supporters and so many who continue to show their enthusiam for this project.
Contact Pollyanna of Littleton New Hampshire, Inc.
of Littleton New Hampshire, Inc.
P.O. Box 864
15 Main Street
Littleton, NH 03561
Pollyanna Visitors say...
Edie Merrill,
Littleton, 2006
Peggy, 2005
Donna Jordan
NH Magazine, 2004
Emile Birch
Sculptor, 2002
Life of a Cat
Littleton NH
- Town of Littleton
- Littleton Area TV - Channel 2
- Chamber of Commerce
- Historical Society
- Littleton Rotary Club
View from Kilburn Crags
Littleton Veterans
Memorial Bridge
Littleton Professional Services
One today is worth two tomorrows.


text:
Jamie Dierking, regional manager of communications for the American Red Cross, answers questions about disaster relief.
Q: What effect does a disaster such as Superstorm Sandy have on the American Red Cross?
A: This is likely to be the biggest Red Cross response in the U.S. in the past five years, and we have mobilized the full resources of the organization across the country to get help to people. More than 5,800 Red Cross workers from all 50 states are offering support. About 90 percent are volunteers.
Q: How impactful was the benefit concert to help Superstorm Sandy victims?
A: "Hurricane Sandy: Coming Together," a live, one-hour benefit telethon aired on the networks of NBCUniversal, generated nearly $23 million in support of victims impacted by Superstorm Sandy.
Q: What disasters have provided the biggest challenge locally?
A: The Kansas City region of the American Red Cross has experienced several large disasters, including the great flood of 1993 and the Hyatt Regency Skywalk collapse in the early 1980s. Recently, the outpouring of support following the tornado that struck Joplin was tremendous.
Q: When do people give to the American Red Cross?
A: Many people make charitable contributions at the end of the year as part of their holiday tradition. Nationally, donations in December account for about 20 percent of all nondisaster contributions.
Q: With disasters come scammers. How can people combat against such practices?
A: The Red Cross urges people to not provide any personal or financial information to unknown individuals. The Red Cross encourages people to give to reputable organizations with a history and "do their homework" before they give. People may check with the Better Business Bureau (bbb.org) or Charity Navigator (charitynavigator.com) for information on charities.
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- Regents President and CEO Tompkins retires
- Kansas considers changes to policies for state workers
- Bill would prohibit public agencies and schools in Kansas from collecting union dues
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Alexander, Lloyd. Gawgon and the boy. In Depression-era Philadelphia, when 11-year-old David is too ill to attend school, he is tutored by the unique and adventurous Aunt Annie, whose teaching combines with his imagination to greatly enrich his life. AR=5.5 J ALEXANDER |
Balliett, Blue. Chasing Vermeer. When strange and seemingly unrelated events start to happen and a precious Vermeer painting disappears, eleven-year-olds Petra and Calder combine their talents to solve an international art scandal. AR=5.4 JM BALLIETT |
Beck, Ian. Secret history of Tom Trueheart. When young Tom Trueheart's seven older brothers all go missing during their adventures in the Land of Stories, he embarks on a perilous mission to save them and to capture the rogue story-writer who wants to do away with the heroes. AR=5.9 JSF BECK |
Birdsall, Jeanne. Penderwicks on Gardam Street. The four Penderwick sisters are faced with the unimaginable prospect of their widowed father dating, and they hatch a plot to stop him. AR=5.3 J BIRDSALL |
Blackwood, Gary. Shakespeare's spy. Widge, an orphan boy turned actor, must play the spy to find out who has been stealing from Shakespeare's acting company. He also starts to write a play of his own ; will this bring him the fortune that a fortune-teller promised him? AR=5.7 J BLACKWOOD |
Clements, Andrew. Frindle. When he decides to turn his fifth grade teacher's love of the dictionary on her, clever Nick Allen invents a new word and begins a chain of events that quickly moves beyond his control. AR=5.4 J CLEMENTS |
Couloumbis, Audrey. Misadventures of Maude March, or Trouble rides a fast horse. After the death of the stern aunt who raised them since they were orphaned, eleven-year-old Sallie and her fifteen-year-old sister escape their self-serving guardians and begin an adventure resembling those in the dime novels Sallie loves to read. AR=5.1 J COULOUMBIS |
Crilley, Mike. Akiko on the Planet Smoo. Ten-year-old Akiko has an adventure when she is whisked away to a distant planet and put in charge of the rescue mission that must search for the kidnapped Prince Froptoppit. AR=5.7 JSF CRILLEY |
Curtis, Christopher Paul. Mr. Chickee's funny money. Flint Future Detective Club members Steven Carter, his friend Russell, and Russell's huge dog Zoopy solve the mystery of a quadrillion-dollar bill with the image of James Brown on it. AR=5.3 JM CURTIS |
Gannett, Ruth Stiles. My father's dragon. A young boy determines to rescue a poor baby dragon who is being used by a group of lazy wild animals to ferry them across the river on Wild Island. Newbery Award. AR=5.6 JSF GANNETT |
Hannigan, Katherine. Ida B:--and her plans to maximize fun, avoid disaster, and (possibly) save the world. Ida B is happy in her family's apple orchard, until her mother begins treatment for breast cancer, and her family must sell part of the orchard. AR=5.3 J HANNIGAN |
Hort, Lenny. Did dinosaurs eat pizza? : Mysteries science hasn't solved. Speculates in a playful manner about the mysteries surrounding dinosaurs, including their choice of food. AR=5.4 J567.9 HOR |
Ibbotson, Eva. Secret of Platform 13. Odge Gribble, a young hag, accompanies an old wizard, and a giant ogre through a magical tunnel from their Island to London to rescue their King and Queen's son who had been stolen as an infant. AR=5.8 JSF IBBOTSON |
Misoso : once upon a time tales from Africa; retold by Verna Aardema. A collection of twelve folktales from different parts of Africa. AR=5.0 J398.2 MISOSO |
Naylor, Phyllis Reynolds. Faith, hope, and Ivy June. During a student exchange program, seventh-graders Ivy June and Catherine share their lives, homes, and communities, and find that although their lifestyles are total opposites they have a lot in common. AR=5.8 J NAYLOR |
Weeks, Sarah. So B. It. After spending her life with her mentally retarded mother and agoraphobic neighbor, twelve-year-old Heidi sets out from Reno, Nevada, to New York to find out who she is. AR=5.0 J WEEKS |
Weissman, Elissa Brent. Standing for socks. Fara decides to wear mismatched socks as a statement of individuality, but once middle school starts, she's not so sure. AR=5.4 J WEISSMAN |


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Sonic & All-Stars Racing Transformed lands at GamesCom 2012 with this brand new trailer. LIKE us: http://Facebook.com/XboxViewTV FOLLOW us: http://Twitter.com/XboxViewTV XBLA, XBLIG and PC games on: http://YouTube.com/ArcadeNEXT More infos on XboxDome.de: More videos from XboxViewTV on MyTopTrailer: http://mytoptrailer.com/show.php?channel=XboxViewTV&vid=i_8lrUxfNPM ABOUT THIS GAME --------------------------------- Sonic & All-Stars Racing Transformed, a new racing experience featuring Sonic the Hedgehog and a fantastic cast of SEGA All-Stars competing across land, air and water in vehicles that fully transform from cars, to planes to boats. Following on from the success of Sonic & SEGA All-Star's Racing, the characters now have their own unique transforming vehicles designed to take advantage of the varying terrain. The line up on the Sonic & All-Stars Racing Transformed grid sees SEGA favorites - including Sonic the Hedgehog, Dr Eggman and AiAi - return to battle against newcomers that include Gilius Thunderhead of Golden Axe and Vyse of Skies of Arcadia. The brand new dynamic environments and tracks in Sonic & All-Stars Racing Transformed are once again inspired by SEGA's illustrious gaming history, and the game also sees the popular All-Star moves return with a brand new mechanic allowing your All-Star bar to power up faster if you race daringly and stylishly. An all new fair weapon system ensures that weapons fired at your vehicle can either be blocked or evaded once you have gained the skills to do so, making each race a unique and exhilarating experience whether it's on water, in the air or on land. Sonic & All-Stars Racing Transformed will be available late 2012, for PC, PS3, Xbox 360, 3DS and PS Vita. Sonic & All-Stars Racing Transformed ----------------------------------------------------------- GENRE: Racing RELEASE DATE(S): + US: November 20, 2012 + EU: November 16, 2012 PLATFORM: Xbox 360 ALSO ON: PC, PS3, 3DS, PSVITA WEBSITE: http://www.sega.com/sonic AVAILABLE @ AMAZON: http://amzn.to/Q9iivA PUBLISHER: Sega DEVELOPER: Sega ESRB: RP for Rating Pending TAGS: Sonic "Sonic All-Stars Racing" Sonic "All-Stars Racing Transformed" "GamesCom 2012" gc12 "GamesCom 2012 Trailer" "All-Stars Racing Transformed gameplay" "All-Stars Racing Transformed trailer" "gamescom 2012 official trailer" "xbox 360" game trailer spiel 2012 xboxviewtv sega pc ps3 3ds psvita racing speed gaming official gameplay video "video game" |
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